The Costumer's Manifesto
. blogg läs mer här Designers, therefore, need to communicate the shows design to all the other costumers involved in the process as clearly as possible, so that when design decisions are made at any level of the process, from buttons to butt padding, they reflect the needs of the show or film as a whole.
VII. I assist the Audience in understanding the story and charactersIn performances where spectacle is required, I make the costumes astonish and entertain, but when the audience should be more aware of the other elements of the performance, I will try to make the costumes recede to the background, without personal vanity.
VIII. I study the history of fashion and dress, no matter what my position in a costume studio, so that I can better replicate the styles of clothing of the past when neededHowever, I will remember to avoid mindlessly copying old fashion plates, but instead keep in mind the key elements of character and concept, and select or adapt those fashions to suit the individual production.
IX. I am aware that my work consists primarily of adapting and reinventing pre-existing styles to do a functional purpose: cover a bodyI know then that what I build is not legally subject to copyright law, and I will not winge and whine if another designer is, in turn, inspired to reuse elements, even a majority of those elements, from one of my designs in their workI will accept this as flattery if anyone does so.
X. Costuming is a fun profession, and I endeavor at all times to keep it that way by remembering the feelings of all my collaboratorsAt no time should actors feel their bodies are being criticized in a fitting, nor should a student, worker or volunteer be treated as slave labor, nor should a director or another designer be bullied into an unwanted design decisionA desire for excellence is good, but the desire should never be pursued to any degree that ignores labor law, common courtesy or civilized collaboration.
Tara Maginnis, 8/18/2002